living brands are born and remain relevant because they make a difference in the lives of everyone. They are more than simply brands, but have body and soul. 2
SOUL: Home to a brand’s core: its essence and purpose. BODY: which holds its expressions, its products and services.
They are able to attract and retain talent.
They surpass market expectations.
Balance long term goals and short term demands.
They have a purpose for the world.
and build meaning.
they play a leading role in constructing a desirable future. 3
In a world filled with uncertainties and changing infrastructures, will your brand be able adjust without losing its relevance?
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75% of the companies to be listed on the S&P 500 have yet to be created.
In an increasingly open landscape, companies are becoming part of a large network-driven ecosystem. In order to keep their brands alive, companies must improve their ability to adapt to change-both now and in the future. *source: capitalism at the crossroads, stuart hart.
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An era of change We must redesign our relationship with consumption.
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Resources are limited. Consumers are more aware. Laws are becoming more strict, impacting environmental and social liability. Business takes place within networks yet corporations remain hierarchical. Everyday new competitors emerge, already in tune with the new consumer landscape.
Natural selection in the business world is unmerciful. Companies must improve their ability to interpret and react to changes in context. It is time to disrupt fragmented structures, where departments only look after their own areas, and evolve to where they share one single purpose, guided simply by the essence of the brand.
All brands have the potential to evoke such change. They have the power to guide the transformation that will generate sustainable value.
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Much more than a mere symbol to provide an identity to its products and services, brands are the synthesis of a company’s most valuable and strategic asset: its essence, its purpose, its values and competencies; its particular way of operating in the world.
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LIVING BRANDS and the evolution of brands
FROM Symbol Position Communication Guide Brand identity
TO Meaning Purpose Providing direction for the corporation Brand community
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How can brands maintain their core competencies while meeting the demands of the new framework? A broad and systemic approach that inspires brands to take on a leading role to redesign the future.
To delve into the souls of companies to understand their culture, comprehend their way of solving problems and identify their core competency. To gaze the market in an effort to develop solutions that surpass what is socially correct, ecologically adequate and economically feasible.
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Tรกtil invests all its investigative, analytical, and creative capacity to design powerful ideas that connect brands to their purpose.
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brand strategies, EXPRESSIONS EXPERIENCES. 14
designing the strategy.
building expressions
Dive into the brand: its market, and audiences of interest. Understand the economic, social, environmental and cultural contexts.
Translate the strategy through visual, verbal and other tangible expressions. This is done by identifying best practice communication, capturing the evolution of branding to develop brand guidelines found in company manifestos and manuals – both on and offline.
Reveal its purpose. Update the brand’s relevancy and generate value. Design a set of strategic guidelines and engage the leaders of the company.
Crafting Experiences An opportunity to experience the essence of the brand. Find the link between the strategy and the expression, and translate it into various forms of communication, points of sale, events, digital media and packaging. 15
OUR APPROACH
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For 24 years, we have been helping brands to make a difference by changing their business, their market, their relationship with people and their way of acting in the world.
identify the purpose
+ build expressions + generate sustainable value
Capture the essence of a brand and develop into a broad yet concise picture that can be interpreted into strategic guidelines.
Give life to brands by developing visual, verbal, and other sensory expressions that inspire and build loyalty.
Generate sustainable value Branding and design are integrated to help companies generate sustainable value, and create narratives that persist over time.
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This is the TĂĄtil way of building a brand for we believe that the context has changed: uncertainty is the only certainty. Unpredictability is now the “rule of the gameâ€? Economic and market cycles are getting shorter and faster.
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Because of this, organizations are becoming more open, adaptable and interdependent on outside forces that impact their success. The boundaries between an organization’s internal and external environments are becoming more subtle and unnoticeable. And the brand is the main interface between the organization and the world in which it lives.
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our teams
Our offices in Rio de Janeiro and S達o Paulo have a team of over 140 professionals with different experiences and multidisciplinary talents. 20
eco-innovation creation production inspiration, strategy and business.
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OUR clients our WORK
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Rio 2016
Where the Olympic spirit meets the carioca soul.
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The most complex visual identity of the world.
139 design and advertising agencies
involved in the bidding process.
87 agencies selected to present
a portfolio.
24 qualified to be interviewed by
the RIO 2016 Committee.
8 finalists received the technical
briefing to create the RIO 2016 brand.
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Paralympic Brand A brand to be experienced, reaping reactions from every audience.
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A multisensory brand We decided that the Paralympic brand would be multisensory. It should ignite one’s senses to generate feeling and eventually illustrate meaning.
We understand that it would only be fully meaningful if it could create a bond and connect with all audiences so they recognize themselves in the brand and feel represented by that symbol.
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Our wish was for anyone – athlete or not, disabled or not – to be able to experience the brand, and, more than that, to react to that encounter.
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Ever since, it has been a priority to use the design as a tool to promote accessibility in an intelligent and comprehensive fashion.
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But how can we promote that experience? How should that brand interact with people?
Based on the information obtained throughout the process, in conferences, meetings and interviews, we concluded that three senses should be stimulated and, through them, people should have a feeling that the brand was pulsating. More than that, the brand should appear to be alive.
As the brand is three-dimensional – and can, therefore, be touched – the first and most obvious choice was to stimulate the sense of touch. Its curves should be able to represent the aggressiveness present in the performance and determination of athletes in their constant power to exceed, while also being pleasing and comfortable to touch. Its shape represents discovery of the future, while it also reveals symbols that live so strongly in our subconscious. 33
THE COCA-COLA COMMUNITY Transforming good ideas into business.
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The Coca-Cola Company wished to create a place to promote development in Brazil by engaging NGOs already established in communities across the country.
Community effort, optimism and transformation through technology as a creative collaboration between Coca Cola, Tatil and members of the community. The objective was to transform good ideas into business and make sustainable investments in the future of those communities by encouraging personal development and creating jobs using the Coca-Cola retail network. 35
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In order to create the ideal place for learning and meeting others, we sought inspirations in visual and verbal references chosen by the community through research and focus groups. The results of our research could be found in the name, logo, furniture and other structural items found throughout the space, all influenced and impacted by feedback from the community. 37
NATURA UNA Celebrating women and their unique beauty.
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Natura wished to launch their premium make-up collection, Una. A brand that combined sophistication with the highest quality formulas using natural products mixed with anti-aging technology.
Together with Natura we developed the concept of highlighting women’s unique beauty free from preconceptions and stereotypes by launching the tagline “Natura Una. The best expression of yourself.” in collaboration with Tateka. 39
We developed clear and consistent brand guidelines that allowed Natura to solidify its place in the premium make-up segment.
For the Una brand identity we developed language based on “Light�: Natura Una encourages women to dedicate their time to self-learning, to achieve a profound awareness of themselves, which is key in discovering their unique beauty, so they can learn their strengths and shine light on them.
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In order to materialise that idea, we put together an inspiring series designed to emulate sophistication in a feminine way. The black color, which was rarely used by Natura until that moment, was an essential part of making this happen.
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NATURA amÓ Love translated into gestures. 42
Challenge: To inspire couples to rediscover their love, helping to add longevity to relationships.
We were challenged to develop a successful concept to position Natura’s new product line: Natura Amó. It took two years of careful research, group discussions with experts, and brainstorming sessions for us to achieve Natura’s goals to talk about love in a way that was unique and unprecedented.
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We formed a team of strategists, designers and writers in a co-creation process that involved clients, companies and people, until we reached the idea that love is made of cycles and that helping people revitalize their love could help to create more lasting relationships.
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Chamego, Amasso E Xod贸. The Brazilian names given to these products speak of gestures of love.
They were the starting point for the creation of the graphic line, which added brushstrokes and colours to help set the ambiance of each expression.
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NATURA SOU Sustainable consumption and design.
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Present a new line of cosmetics with very low impact to the environment.
A challenge we took on with Natura to successfully launch into the second tier market. Challenge: To try to reach a new audience with a tagline that speaks, with authority, about conscious consuming. 47
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We actively participated in developing the concept of the line, in partnership with Natura and other experts. This was a collaborative process that helped to define their portfolio of products along with its respective labels and packaging.
In partnership with N贸 Design, we developed a solution with a minimum amount of material and a strong sensory impact. This opportunity also involved research and development in Europe and Japan.
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NATURA EKOS Inspired by brazilian culture.
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Translate traditional Brazilian knowledge into shapes and materials that promote a sensory experience.
Our team sought inspiration in popular Brazilian markets. We visited markets across Brazil to explore various shapes and materials along with insight on how local merchants store products and reuse packaging using locally sourced materials and resources. 51
Examining the bottles, the diversity of their shapes, and their multiple uses was just the starting point for creating the packaging for the Natura Ekos line. Based on that inspiration, we blended diversity and “Brazilianness� to characterize the bottles of this brand.
This allowed us to position a brand that possessed an understanding and appreciation for Brazilian culture and nature. The labels serve two purposes: 1) to offer information about the product and 2) to tell the story of the environmental impact of the packaging.
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Through QR codes placed on the labels, consumers can link to more information about the product on their official Web site.
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Bent么
Your Japanese food, in your own time.
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Develop the branding project for a new brand of a Japanese restaurant, using an innovative proposal that blends the fast in fast food with the quality of Asian cuisine.
the fast food mixed with japanese cuisine.
After much research, we developed the concept “Your Japanese food, in your own time.� We then created brand guidelines inspired by contemporary Japan, which led to the development of the name (Bento: the traditional Japanese single-portion takeout or home-packed meal), visual identity, verbal language and POS materials. 55
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Stone AGE From extensive to compact. From complex to simple.
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Stone Age believes we are only in the beginning or in the “stone age” of the Information Era. In other words, we are on the verge of a new era in which technologies will make a breakthrough in data access, information, and knowledge – improving not only business, but people’s lives.
Tátil saw this as a huge opportunity to change, improve and add differentiation to the brand.
For Stone Age, evolving meant to optimize access to information: making the complicated simple and the vast more compact. 59
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That is why we sought inspiration in its most efficient form: The hexagon.
Taking into consideration the same perimeter, the area of a hexagon is larger than that of a square or triangle. It is a socalled the optimal shape. It is the inspiration behind the new brand, with all visuals created by Tรกtil.
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EBX
Boosting the growth of a whole group. 62
The challenge was to construct guidelines for the cultural and brand identity for the EBX Group.
Balance Brand x Biography and Leader x OrganiZation. A business group that, quickly achieved impressive business results with organic and unplanned growth. 63
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We were invited to form a partnership with the EBX Group to develop one central corporative culture and identity for this multi-faceted group. At a time when the company was experiencing rapid expansion, consolidation and improving stakeholder relations, we developed a team to perform a thorough investigation of their business strategy. The result was a comprehensive diagnosis of the brand, which served as the basis 66
to build management tools and other intangible assets, along with the visual and verbal tone of the brand.
We redesigned the brand of the EBX Group and their main sub-brands.
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PHILIPS
Redesigning a new work environment.
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New headquarters, a new idea, a new workplace concept.
To develop the overall layout, design and atmosphere of its new head office in Sao Paulo, Philips invited us to help create a work environment that was more recreational and more enjoyable for everyone. 69
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We sought inspiration in what is simple, sensible and better for everyday life. We incorporated a mix of images, wording, panels and shapes to reflect the essence of the Philips brand within the office space.
The result we came up with were simple and intuitive signs, using universal language that carefully balanced and combined the simplicity of the brand’s visual language with the sensory effect of the chosen colors, photographs and other materials.
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RENAULT Creating stories with consumers.
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When challenged to design a new experience between people and the Renault brand, we sought to create connections that were emotional, relevant and memorable. We believed that the best way to promote the identity and values of the Renault brand was to develop a consistent message both on and offline.
To do this, we first explored the deep history and symbolicculture of cars.
We then looked at the automotive market, including the manufacturers. We understood how people interact and react to new concepts in the automotive industry and used that to dive deeper into the history and essence of Renault in Brazil.
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We realised that the car dealership is more than just a place to make a purchase. It is an opportunity for Renault to build relationships with people and make history.
Therefore, we found that the Renault experience area should be human, astonishing and accessible. Through a more informal and inviting presentation we created a segmented area that is interactive and easy to navigate. We designed experiences that take into consideration each person’s history and needs, creating ties between Renault and its consumers. 74
Thinking about each detail in the Renault Area, we proposed materials, lighting, colors and shapes that added value to the brand in every step of the process. It invited consumers to engage in a new experience, starting the moment they enter the store, to the moment they receive their new car to their post-sales service.
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DROGA RAIA New store for a new kind of consumer
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Together with Procter & Gamble, Droga Raia wished to create an in-store purchase experience that was more emotional and enjoyable, adding differentiation and relevance through a partnership that would strengthen their brand equity while increasing their sales of P&G products.
More than being admired, they wanted to be desired by people. A natural outcome of the project was the development of a new brand that represented Droga Raia’s new positioning.
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For this project we combined all of the expressions of the brand to develop one central concept: Care. We translated this idea into various aspects of the model-store.
We created and put together a design code with segmentations for the health, beauty and baby categories, and generated guidelines for their implementation. 79
LEAVES In 2008, Tåtil was invited to present a workshop called Designing Naturally at the Cannes Advertising Festival. The workshop was designed to discuss the role of design as a tool to change the future. It required the creation of an original invitation that would reflect natural principles and raise interest, enticing one’s senses while maintaining a low environmental impact.
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soluTION To create the invitations with more freedom and interaction, we asked our team to send theme-related images. From airplanes to dancers, ants to soup cans, each person brought their own interpretation of the concept. We then printed those images on dry leaves with a laser beam. Collected from the streets and parks of Rio de Janeiro, the leaves themselves served as the actual invitations, creating a product that was inspiring, recreational and ideal when looked at against the sun. They were simple and shiny flyers that, after being used, could be dropped to on the ground and returned to nature.
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Tátilrana Tátilrana was born in 2005. Entirely made by cuts and creases, its articulated shape reminds us of childhood. Eleven segments connect to form the body, creating movement, taking different positions. Tátilrana is marked with Tátil’s creative flair and invites us to have fun.
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Gรกtil It became the most famous, Tatil product and kind of a mascot to us. It acts like a real cat, always landing on its feet when falling from a high place.
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Especial | Resíduos sólidos Tendências Empresas adotam processos que geram menos resíduos e usam mais materiais recicláveis
DIVULGAÇÃO
Embalagem ganha parâmetro verde com o ‘ecodesign’ Andrea Vialli Para o Valor, de São Paulo De um lado, o desperdício; de outro, a perspectiva de escassez de matérias-primas em um mundo que caminha para os 9 bilhões de habitantes até 2050, segundo projeções das Nações Unidas. A resposta para o desafio de fazer mais com menos deve passar pelo design dos produtos e das embalagens. Porém, a adoção de atributos de sustentabilidade, o chamado ecodesign, ainda não é recorrente nas pranchetas dos designers. “O design ainda não incorporou essa nova inteligência focada na sustentabilidade e na redução dos impactos ambientais dos produtos. E isso ocorre não só no Brasil, no mundo todo”, afirma o designer Fred Gelli, sócio e diretor de criação da Tátil Design de Ideias, uma das agências precursoras em ecodesign no país, que acumula em sua trajetória a criação da logomarca da Olimpíada Rio 2016, cuja licitação venceu. Gelli, que também é professor do Departamento de Design da PUC-RJ, assinala que nem as grandes premiações internacionais de design incorporaram critérios de sustentabilidade na avaliação dos trabalhos. “Sou jurado de prêmios como Cannes e D&AD Global Awards e posso dizer que o design verde não é critério de avaliação,
ainda”, diz. “Isso é um absurdo, se levarmos em consideração que 33% do lixo produzido no mundo são embalagens.” Desde sua graduação, Gelli estuda formas de design aliadas à natureza: é um pioneiro da chamada biomimética no Brasil — o ramo do design que estuda as formas da natureza para tentar replicá-las no desenho dos produtos. Com esse background, sua agência vem trabalhando na criação de embalagens mais ecoeficientes para grandes empresas, como Coca-Cola e Natura. Com a adoção de ferramentas como a análise de ciclo de vida (ACV) é possível determinar, por exemplo, se é mais viável ambientalmente para uma empresa utilizar embalagens de plástico, vidro ou papelão — ou inovar no uso de novos materiais, por exemplo. Foi assim com a linha Ekos da Natura, cujas embalagens passaram a ser fabricadas com maior percentual de PET reciclado, além de ter informações sobre sustentabilidade presentes no rótulo — a chamada rotulagem ambiental. Uma tendência crescente é o chamado Cradle to Cradle, ou C2C (em tradução literal, “do berço ao berço”). Formulado em 2002 pelo arquiteto William McDonough e pelo químico Michael Braungart em seu livro homônimo, o conceito C2C é simples de entender, mas
ainda difícil de ser posto em prática. Os autores defendem que cada novo produto ou embalagem seja desenhado de modo a não mais gerar resíduo ao fim de sua vida útil, e sim se tornar a matéria-prima de um novo processo produtivo, fechando o ciclo sem perdas materiais — ou com o mínimo de perdas possível. A lacuna de informações sobre as aplicações de ecodesign no Brasil levou a designer paulista Elisa Quartim a compilar todo tipo de informação que recebia sobre o tema. Assim, ela criou o site Embalagem sustentável (www.embalagemsustentavel.com.br), na rede desde 2008, para mostrar exemplos tangíveis de design sustentável, praticados por empresas do Brasil e do exterior. “No Brasil, o design voltado para a redução do impacto ambiental de um produto ou embalagem ainda é pouco explorado. Mas está começando”, diz Quartim, que atualmente faz um projeto de pesquisa sobre as embalagens de produtos orgânicos no Brasil. Segundo a designer, o processo de mudança de mentalidade começa pela redução de espessura, ou volume de uma embalagem. “Isso traz ganhos para a empresa, como economia de materiais e menores custos de logística”, diz. Além disso, os ganhos econômicos costumam vir acompanhados de benefícios am-
Fred Gelli: nem as grandes premiações internacionais de design incorporaram critérios de sustentabilidade
bientais, como a redução emissões de CO2. “O que também se traduz em um ganho de reputação para as empresas”, analisa Quartim. Uma empresa que tem buscado essa diretriz — reduzir peso e volume das embalagens — é a fabricante de alimentos Danone. Em 2009 a empresa trouxe ao Brasil uma nova tecnologia, batizada de Foam (“espuma”, em inglês), que expande a chapa plástica utilizada nas embalagens, tornando-a aerada — diminuindo o peso das embalagens em até 19% e também o consumo de matéria-prima. Também passou a utilizar o “polietileno verde”, resina fabricada pela Braskem a
partir da cana-de-açúcar, em embalagens em formato garrafinha, que não podem ser moldadas no sistema Foam. “A motivação inicial para a adoção dessas novas tecnologias foi diminuir a pegada de carbono das embalagens da empresa”, explica Lucas Urbano, gerente de sustentabilidade da Danone. “Nesse processo, tomamos conhecimento de várias ferramentas de ecodesign que estão sendo estudadas, como a análise de ciclo de vida e os biomateriais”, diz Urbano. Há quem veja a Lei de Resíduos Sólidos como a oportunidade que faltava para que o design sustentável deslanche no Brasil. É o caso de
Marina Grossi, presidente do Conselho Empresarial Brasileiro para o Desenvolvimento Sustentável (Cebds). “A lei impulsionará uma nova indústria, pois responsabiliza toda a cadeia pela gestão dos resíduos”, diz. Segundo Marina, as empresas brasileiras já têm a percepção de que o design precisa incorporar o desafio do descarte correto. Não por acaso, o ecodesign e a gestão dos resíduos são temas do documento Visão 2050, do Cebds, lançado durante a Rio+20, que pretende nortear as empresas nas práticas de sustentabilidade. “O lixo pode virar novos produtos e energia. Essa indústria será prioritária para o Brasil.”
Modelo prevê R$ 70 milhões para inovação tecnológica Paulo Vasconcellos Para o Valor, do Rio Até 2014, serão investidos R$ 70 milhões na inovação tecnológica das cooperativas de coleta de resíduos sólidos, na capacitação dos catadores e na ampliação dos pontos de entrega voluntária. A proposta faz parte do modelo único de logística reversa para embalagens que a coalizão liderada pelo Compromisso Empresarial para a Reciclagem (Cempre), reunindo 26 associações nacionais representativas de 80% das empresas que produzem, vazam e comercializam artigos com embalagens, vai apresentar no ano que vem ao Ministério do Meio Ambiente para o acordo setorial previsto no Plano Nacional de Resíduos Sólidos. A ideia é promover o reforço da coleta seletiva municipal do lixo em parceria com as cooperativas de reciclagem, instalar pontos de coleta voluntária em todos os supermercados do país e realizar a primeira grande campanha nacional de educação ambiental. A primeira fase, até 2014, se concentrará nas doze cidades-sede da Copa do Mundo e deve atingir uma meta de redução de 22% dos resíduos recicláveis secos que vão para os lixões. A segunda etapa, de 2015 a 2035, é reciclar 45%. “É uma grande oportunidade de
CLAUDIO BELLI/VALOR
Costa: “Logística reversa e coleta seletiva serão implantadas de forma gradual e progressiva de acordo com a lei”
fazer história ambiental. O Brasil já tem alguns trunfos em reciclagem no mundo. A gestão de resíduos sólidos brasileira talvez seja a que mais bem retrate a economia verde. O modelo não está pronto, mas temos todas as ferramentas para fazer a diferença”, diz Victor Bicca, presidente do Cempre. Os acordos de logística reversa atingem cinco setores: embalagens de óleos lubrificantes, embalagens em geral, lâmpadas fluorescentes, eletroeletrônicos e descarte de medicamentos. O processo
mais adiantado é do embalagens de óleos lubrificantes. A proposta do setor já passou por consulta pública, que está em processo de análise, e deve ser assinada ainda este ano. O edital para embalagens em geral foi publicado no Diário Oficial de 5 de julho. O setor tem até 5 de janeiro de 2013 para apresentar a proposta. O edital para a logística reversa de lâmpadas fluorescentes também já foi publicado. Até o fim do ano deve ser publicado o edital de eletroeletrônicos. O de descartes de medica-
mentos está previsto só para o início do ano que vem. O Ministério do Meio Ambiente trabalha ainda na elaboração do Sistema Nacional de Informações de Resíduos (Sinir). O portal, que deverá ser alimentado por todos os órgãos municipais e estaduais e pelas empresas, deverá entrar em funcionamento até dezembro deste ano e vai servir ao gerenciamento dos acordos setoriais de logística reversa. “Cada projeto de logística reversa tem a sua especificidade.
Na de óleos lubrificantes, a embalagem é devolvida logo que o usuário abastece o carro. Já para o de lâmpadas fluorescentes é preciso definir pontos de coleta, com distância máxima entre os pontos para que o cidadão não tenha que andar muito para fazer o descarte. A logística reversa e a coleta seletiva serão implantadas de forma gradual e progressiva de acordo com a lei”, afirma Silvano Silvério, diretor de Ambiente Urbano do Ministério do Meio Ambiente. A proposta da coalizão coordenada pelo Cempre prevê a triplicação do número de cooperativa de catadores, expansão dos pontos de entrega voluntária, ampliação da coleta seletiva que hoje já é feita por 766 municípios, desoneração da cadeia de produção de reciclagem e medidas para acabar com a informalidade do setor com mudanças legais que simplifiquem a constituição de cooperativas. O acordo também prevê uma definição mais clara da organização da coleta por meio de parcerias entre as cooperativas e as prefeituras. “Se em 2014 tivermos esses pontos em fase de implantação, principalmente com os postos para coleta de embalagens já instalados, será um grande avanço. Gostei particularmente porque, mais do que uma lei, existe um evento motiva-
dor para a mobilização de toda a sociedade”, afirma Walfredo Schindler, diretor-superintendente da Fundação Brasileira para o Desenvolvimento Sustentável (FBDS). “O conceito da parceria entre prefeituras e cooperativas é importante porque tem impacto no transporte dos descartes, que poderia inviabilizar o processo de reciclagem”, afirma Patrícia Guarnieri, professora da Universidade de Brasília (UNb). Entidades de defesa do consumidor acreditam que houve um avanço na mobilização da sociedade em torno do Plano Nacional de Resíduos Sólidos, mas defendem que é preciso acompanhar os processos de acordos setoriais para tentar influir nas soluções como forma de o usuário ser reconhecido. Há dúvida se o foco no descarte voluntário não deveria ser compensado com uma coleta mais eficiente nos domicílios e até com algum incentivo. “A coleta seletiva nas casas atende apenas 20% da população de São Paulo. Na Europa, a reciclagem é maior porque há máquinas em supermercados em que a coleta reverte em descontos para o consumidor que leva o lixo reciclável. Mas também é preciso definir melhor a fiscalização sobre o modelo de coleta seletiva”, diz João Paulo do Amaral, pesquisador do Instituto de Defesa do Consumidor (Idec).
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